Hindi
UTV to release Guzaarish in Latin America in Feb
MUMBAI: Continuing its endeavour to open new international markets for Indian cinema, UTV Motion Pictures is all set to release Guzaarish in Peru (Latin America) in February.
With this exercise, UTV Motion Pictures becomes one of the first studios in India to enter Latin America.
Guzaarish continues to be a film widely picked up by non-traditional international markets, besides the traditional ones.
Says UTV Motion Pictures senior vice president, International distribution and syndication Amrita Pandey, “Latin America as a new market is a focus for us. The Indian population is limited in Peru, which makes it even more significant an achievement to have managed a release for the film there.
We‘re looking forward to the Guzaarish release in Peru. There have been enquiries on Ek Main Aur Ekk Tu from the region. We hope the Spanish trailers for Ek Main Aur Ekk Tu will pave the way for day-and-date release of new movies in the near future. We are also talking to a leading European distributor to have Guzaarish released in France. This will be a first-time ever Bollywood acquisition from France.”
Directed by veteran director- producer Sanjay Leela Bhansali and co-produced by SLB Pictures and UTV Motion Pictures, Guzaarish, released on 19 November 2010, was appreciated by critics from across the world.
In another first, UTV is also releasing the Spanish trailer of UTV Motion Pictures and Dharma Productions’ Ek Main Aur Ekk Tu across theatres in Peru. Directed by Shakun Batra, the film has Imran Khan and Kareena Kapoor in the lead. The film has been produced by Ronnie Screwvala and Karan Johar.
Hindi
Remembering Gyan Sahay, the lens behind film, television and advertising
From a puppet rabbit selling poppadums to Hindi cinema, he framed it all.
MUMBAI: There are careers, and then there are canvases. Gyan Sahay, the veteran cinematographer, director, and producer who passed away on 10 March 2026 in Mumbai, had one of the latter. Over several decades in the Indian film and television industry, he turned lenses, lights, and the occasional puppet rabbit into something approaching art.
A graduate of the Film and Television Institute of India (FTII) in Pune, Sahay built his reputation as a director of photography across a career that stretched from the early 1970s all the way to the digital age. He was the kind of craftsman who understood that a well-composed shot is not merely a technical achievement but a quiet act of storytelling.
For most Indians of a certain age, however, Sahay will forever be the man behind the rabbit. His direction of the iconic long-running television commercial for Lijjat Papad, featuring its now-legendary puppet bunny, gave the country one of its most cheerfully persistent advertising images. It was the sort of work that sneaks into the national subconscious and takes up permanent residence.
His big-screen credits as cinematographer include Anokhi Pehchan (1972), Pagli (1974), Pas de Deux (1981), and Hum Farishte Nahin (1988). In 1999, he stepped behind a different kind of camera altogether, making his directorial debut with Sar Ankhon Par, a drama that featured Vikas Bhalla and Shruti Ulfat, with a cameo by Shah Rukh Khan for good measure.
On television, Sahay was particularly prized for his command of multi-camera production setups, a skill that made him a go-to technician for large-scale shows and reality programmes. In an industry that has never been especially patient with complexity, he was the calm hand on the rig.
In later life, Sahay turned teacher. He participated regularly in masterclasses and Digi-Talks, often hosted by organisations such as Bharatiya Chitra Sadhna, sharing hard-won wisdom on cinematography, the comedy of timing in a shot, and the sweeping changes brought by the shift from celluloid to digital. He was also said to have been involved in a project concerning a biographical film on Infosys co-founder N.R. Narayana Murthy.
Tributes from the film industry poured in following the news of his passing, with colleagues remembering him as a senior cameraman who served as a rare bridge between two entirely different eras of Indian cinema. That is, perhaps, the finest thing one can say of any craftsman: he kept up, and he brought others along with him.
